Uploaded August 2019 | Updated September 2026, 9 hours ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Neo-Tribalism and Ritualism at EDM Events: Towards a Model for Quantitative Analysis
Jeffrey Van Sluijs, Steven Malliet & Pieter Maeseele - University of Antwerp, Belgium
/// ABSTRACT
EDM events are commercial or non-commercial gatherings of people, experiences clearly constrained in time and space. “EDM” is often used as an umbrella term for all genres of electronic dance music. At other times, people argue that EDM is a genre in itself. In this paper “EDM” is used as an umbrella term, including the subgenres of house (e.g.: Fedde Le Grand, Laidback Luke, Steve Angello), techno (e.g.: Carl Cox, Adam Beyer, Richie Hawtin), trance (Armin van Buuren, W&W, Paul van Dyk), psychedelic (e.g.: Astrix, Infected Mushroom, Nelix), dubstep (e.g.: Skrillex, Snake, Diplo), drum ‘n bass (e.g.: Nero, Pendulum, Noisia), and the harder styles (e.g.: D-Block & S-Te-Fan, Noisecontrollers, Angerfist).
In this paper we aim to make steps towards a model for the quantitative analysis of the EDM event experience, using insights from both classical subcultural theory and contemporary remediations of it. In a first section we provide a literature overview, positing that neo-tribalism is a relatively new way to study the scene, although opinions are divided whether or not the framework forwarded by Maffesoli is the most appropriate to study the EDM scene. We will next present the results of a survey that was administered with 339 EDM enthusiasts in Belgium and the Netherlands, using principal components analysis to identify different dimensions of the EDM experience. This serves as a first attempt to make the EDM event experience measurable and suitable for comparative and quantitative analysis.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Neo-Tribalism and Ritualism at EDM Events: Towards a Model for Quantitative Analysis
Jeffrey Van Sluijs, Steven Malliet & Pieter Maeseele - University of Antwerp, Belgium
/// ABSTRACT
EDM events are commercial or non-commercial gatherings of people, experiences clearly constrained in time and space. “EDM” is often used as an umbrella term for all genres of electronic dance music. At other times, people argue that EDM is a genre in itself. In this paper “EDM” is used as an umbrella term, including the subgenres of house (e.g.: Fedde Le Grand, Laidback Luke, Steve Angello), techno (e.g.: Carl Cox, Adam Beyer, Richie Hawtin), trance (Armin van Buuren, W&W, Paul van Dyk), psychedelic (e.g.: Astrix, Infected Mushroom, Nelix), dubstep (e.g.: Skrillex, Snake, Diplo), drum ‘n bass (e.g.: Nero, Pendulum, Noisia), and the harder styles (e.g.: D-Block & S-Te-Fan, Noisecontrollers, Angerfist).
In this paper we aim to make steps towards a model for the quantitative analysis of the EDM event experience, using insights from both classical subcultural theory and contemporary remediations of it. In a first section we provide a literature overview, positing that neo-tribalism is a relatively new way to study the scene, although opinions are divided whether or not the framework forwarded by Maffesoli is the most appropriate to study the EDM scene. We will next present the results of a survey that was administered with 339 EDM enthusiasts in Belgium and the Netherlands, using principal components analysis to identify different dimensions of the EDM experience. This serves as a first attempt to make the EDM event experience measurable and suitable for comparative and quantitative analysis.
